CLAUDE DERUET AND WORKSHOPNANCY 1588 - 1662 | Portrait of a lady as Diana

Le tableau paraît plus pâle et présente en réalité plus de profondeur que dans l’illustration au catalogue, montrant ainsi plus de nuances et de détails. Le tableau est dans un état de conservation relativement bon. A l’œil nu : Le tableau aux dimensions imposantes a fait l’objet d’un ancien rentoilage. On observe légèrement les marques du châssis dans le réseau de craquelures. En outre, le tableau est couvert d’un ancien et beau réseau de craquelures ayant bien vieilli. Le tableau est couvert d’un ancien vernis encrassé et décoloré. On note une retouche à droite de la main tenant la corne (ca. 5 x 5 cm). On remarque des retouches éparses, notamment dans le visage de Diane et dans son cou. On remarque une certaine minceur de la couche picturale autour de la chevelure de Diane, de même que dans certaines zones de l’avant-plan et de l’arrière-plan. Les couleurs et les empâtements de la figure et des détails des dentelles semblent avoir été bien conservés. A la lampe UV : Le tableau fluoresce partiellement, révélant notamment les retouches éparses mentionnées ci-dessus. De plus, certaines retouches sont visibles dans son décolleté, sur la tête du chien, dans la main gauche de la dame, ainsi que de façon éparse dans le tableau. Vendu dans un cadre imposant décoré en bois doré (en bon état de conservation avec quelques petits éclats) The actual painting is more tonal in colour and less pale than the catalogue illustration would suggest. The painting seems to be in a fairly good condition. Under the naked eye : The large canvas has been relined. Some minor stretcher marks are visible in the craquelure pattern; the craquelure pattern shows a nice aging as well. The painted surface is covered with a nice and old discoloured somewhat dirty varnish layer. A repaired damage of ca. 5 x 5 cm. can be seen to the right of the lady’s sleeve near her left hand. Some retouchings are visible in her face and neck area. Scattered discoloured retouchings can be seen throughout the larger canvas which seems logical in view of its size and grandeur. The hair of the lady has grown somewhat thin, as have some of the background and foreground areas. The colours and impastos of the lady’s clothing and lace details seem to have been nicely preserved. Under UV light : The old varnish layer fluoresces partially showing the retouchings mentioned above. Furthermore in her face, décolleté and left hand, in the white dog and scattered throughout the paint surface. Offered with an ornate carved and gilt wood frame, some minor chips and damages.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

We are grateful to Mrs Alexandra Zvereva for endorsing the attribution of the painting and for her help with this catalogue note.

Born in Nancy, Claude Deruet was the pupil of Jacques Bellange and worked between 1613-1619. Following his return to his native city, he became the official artist to the duchy of Lorraine and came frequently to Paris to honour orders for the court, including of Portrait of Louis XIII on horseback. 

A version of this portrait, arched at the top, is in the collection of the Château de Chenonceau. The meticulous treatment of the clothing and the pentimento in the white dog's head suggests the possibility that this is a prior version of the composition now at Chenonceau.